Department : Industrial Product Design
İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SCIENCE AND TECHNOLOGY
M.Sc. Thesis by Ayşe Mine TEOMAN, B.A
Programme : Industrial Product Design
THE CHARACTERISTICS OF DESIGN CONSULTANCY COMPANIES IN TURKEY
İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SCIENCE AND TECHNOLOGY
THE CHARACTERISTICS OF DESIGN CONSULTANCY COMPANIES IN TURKEY
M.Sc. Thesis by Ayşe Mine TEOMAN, B.A.
502041970
Date of submission : 24 December 2007 Date of defence examination : 30 January 2008
Supervisor (Chairman) : Assoc. Prof. Dr. Özlem ER
Members of the Examining Committee: Assist. Prof. Dr. Şebnem TİMUR Assist. Prof. Dr. Serhan ADA (Bilgi U.)
İSTANBUL TEKNİK ÜNİVERSİTESİ FEN BİLİMLERİ ENSTİTÜSÜ
TÜRKİYE’DEKİ TASARIM DANIŞMANLIK FİRMALARININ ÖZELLİKLERİ
LİSANSÜSTÜ TEZİ Ayşe Mine TEOMAN
Tezin Enstitüye Verildiği Tarih : 24 Aralık 2007 Tezin Savunulduğu Tarih : 30 Ocak 2008
Tez Danışmanı : Doç. Dr. Özlem ER
Diğer Jüri Üyeleri Yard. Doç. Şebnem TİMUR Yard. Doç. Serhan ADA (Bilgi U.)
FOREWORD
I would like to thank my supervisor Associate Professor Dr. Özlem Er for her valuable guidance in the preparation of this study.
I am truely indebted to my sister Dr. Zeynep Dörtbudak for her encouragement, valuable help and support during the entire programme.
I am grateful to the owners and partners of the design consultancy companies who have constituted the sample of this research for their help in the realisation of this study.
I thank all the people who had been “by coincidence” present in my life at a particular point in time, serving as catalysts in different capacities, for the commencement, development and the realisation of this programme.
Last, but not the least, I thank my dear family, my mother, my husband and my sweet daughter for their love and support.
TABLE OF CONTENTS
ABBREVIATIONS vi
LIST OF TABLES vii
SUMMARY viii
ÖZET x
INTRODUCTION 1
1. BACKGROUND OF THE RESEARCH 3
1.1 The Growing Importance of Industrial Design 4
1.2 Design Management 5
1.2.1 The Role and the Responsibilies of Design Management 7
1.2.2 Organising Design in a Company 8
1.3 The Design Consultancy Business 12
1.3.1 The Role of Design Consultancy as a Strategic Partner 15
1.3.2 Client-Consultancy Releationships 16
1.4 Industrial Design in Turkey 21
1.4.1 The History of Industrial Design in Turkey 22 1.4.2 The Education of Industrial Design in Turkey 24
1.4.3 The Industrial Design Sector in Turkey 26
2. RESEARCH METHOD 27
2.1 The Objectives of Research 28
2.2 Determination of the Research Method 29
2.3 The Sample Selection Criteria 30
2.3.1 The Sample 30
2.4 The Research Process 30
3. FINDINGS 32
3.1 Analysis of the questionnaires and the interview 32 3.1.1 Descriptive Analysis of the Company Profiles 32
3.1.2 Analysis of the Interviews 39
4. CONCLUSION AND DISCUSSION 56
4.1 The basic characteristics of design consultancies in Turkey 56 4.2 The circumstances during the founding of the design consultancies 58 4.3 Evaluations of the Industrial Design Industry by the Design Consultants 59
4.5 Recommendations for Further Research 61
REFERENCES 62
APPENDICES 66
ABBREVIATIONS
US : United States
NIC : Newly Industrialised Countries TQM : Total Quality Manufacturing
JIT : Just In Time Manufacturing
TTM : Time To Market
QFD : Quality Function Department
R&D : Research and Development
UK : United Kingdom
HR : Human Resources
CEO : Chief Executive Officer
DDB : Doyle Dane Bernbach
DFSS : Design For Six Sigma
IDGSA : İstanbul Devlet Güzel Sanatlar Akademisi
UNIDO : United Nations Industrial Development Organisation ETD : Endüstriyel Tasarımcılar Derneği
ICSID : International Council of Societies of Industrial Design İTÜ : Istanbul Technical University
ETMK : Endstriyel Tasarımcılar Meslek Kuruluşu
MSU : Mimar Sinan Üniversitesi
METU : Middle East Technical University
MU : Marmara University
B.Sc. : Bachelor of Science
B.A. : Bachelor of Arts
BID : Bachelor of Industrial Design
ÖSYM : Öğrenci Seçme ve Yerleştirme Merkezi SME : Small and Medium sized Enterprises
PR : Public Relations
NGO : Non-Profit Organisations
LIST OF TABLES
Page no. Table 1.1 A Comparative Approach to Design and Management Concepts
(Mozota, 2003)……….. 8
Table 1.2 McKinsey’s 7S Model (Gemser and Van Zee, 2001)……….. 14
Table 1.3 The Industrial Design Departments of Turkish Universities (Er, H. A, 2007)……….. 25
Table 3.1 Profile of Design Consultancy Companies- I……… 37
Table 3.2 Profile of Design Consultancy Companies- II……….. 38
Table 3.3 Strengths of the Design Companies……….. 46
THE CHARACTERISTICS OF DESIGN CONSULTANCY COMPANIES IN TURKEY
SUMMARY
This thesis investigates the characteristics of consultancy companies providing industrial design services in Turkey, as well as inquiring the common aspects in the professional backgrounds and mindsets of the owner/ founders of these companies. The significance of design as a competitive business tool has increasingly been acknowledged in the world. It has also been acknowledged that design needs to be managed in order to make sure its positive impact to the competitiveness of the companies. Searching various sources for design skills, companies started to obtain design services from consultancy companies. In addition to its various benefits, commissioning design work to external sources of expertise has been a means for companies to exploit a diversified set of skills, a wide array of technical know-how and a large pool of new and creative ideas.
The literature review on design management, particularly the outsourcing of design and design consultancies in advanced markets reveal a clear understanding of the dynamics of design consultancies, the reasons behind outsourcing and the strategies to increase the benefits derived from consultancies. The nature and quality of client-consultancy relationships and how this relationship is managed by both parties have a high impact on the amount of mutual benefits derived from this colloboration.
The emergence and the development of industrial design in Turkey as the literature conveys, has been a slow process and the history of industrial design a short one so far. Today, the demand for industrial design is still low due to a relatively low level of consciousness about the significance and value of design in business in Turkey. Design professionals have started establishing design consultancy companies in the late 1980s. Most of these design consultancy companies suffered from the low demand for design until the second half of 1990s. After this time, with the growing need for original design in both the domestic and export markets, the industry has started to invest in industrial design. With the acceptance of a new intellectual property rights legistlation in line with the EU regulations in the second half of the 1990s, industrial designers have gained considerable protection for their work.
This research utilised primarily the interview method with design consultancy owners selected from the member lists of Industrial Designers Society of Turkey (ETMK) and Dexigner design portal providing reliable databases of industrial designers operating in Turkey. The sample was chosen among the designers who had previously exhibited their work in major national and international design organisations since 1994.
The emergence of the consultancy sector, though at a slower pace, has been in line with the developments experienced in the advanced markets as portrayed in the literature. On the other hand, the issues and problems related to this field in Turkey reflect a rather premature state.
This study puts forward that the business of design consultancy in Turkey comprised of small size studios serving a variety of sectors, still suffer from the low level of consciousness and demand for industrial design in general. However, the satisfactory growth in their business volumes in the past few years may denote an upward shift in the demand for design services.
Today, the design field enjoys an unexpected popularity in Turkey due to high media interest. If this interest is followed by the demand of the Turkish industry, especially of the SMEs which consititute 98 % of all industrial establishments, for design services, then a fertile environment for design consultancy companies to grow and prosper would be possible in Turkey.
TÜRKİYE’DEKİ TASARIM DANIŞMANLIK FİRMALARININ ÖZELLİKLERİ
ÖZET
Bu tez Türkiye’de tasarım hizmetleri veren danışmanlık firmalarının özelliklerini ve kurucularının profesyonel deneyimleri ve meslekleriyle ilgili düşünce yapılarındaki benzerlikleri araştırmaktadır.
Bu alandaki literatür, dünyada tasarımın temel bir rekabet aracı olarak giderek önem kazanmakta olduğu gerçeğini açıkça ortaya koymaktadır. Tasarımın artan önemine ek olarak, karmaşık yapıdaki tasarım faaliyetlerinin yönetilmesi ihtiyacı ve zorunluluğu, tasarım yönetimi kavramını firmaların gündemine taşımıştır. Tasarım kaynakları arayışı içinde olan firmalar, tasarımı firma dışı kaynaklardan temin edilen bir hizmet olarak değerlendirmeye başlamış ve tasarım danışmanlık firmaları ile yakın işbirlikleri oluşturmuşlardır. Bu gelişmede temel etken daha yetkin teknik bilgi ve becerilerin, daha geniş deneyimin ve yaratıcı yeni fikirlerin firma dışı kaynaklardan elde edilebilmesidir.
Bu alandaki literatür özellikle gelişmiş pazarlardaki tasarım danışmanlığı faaliyetlerinin kapsam ve yöntemleri ve firmaların tasarım yönetimi faaliyetlerinin dinamiklerine ışık tutmakta, belirli yönetim stratejilerinin nedenlerini ve ilişkiden beklenen faydanın nasıl yükseltilebileceğini ortaya koymaktadır. Danışmanlık firmaları ve müşterileri arasındaki ilişkilerin doğası ve bu ilişkilerin taraflarca nasıl yönetildiği ise endüstriyel tasarım faaliyetinin sonucuna doğrudan etkide bulunmaktadır.
Endüstriyel tasarımın Türkiye’deki tarihi oldukça kısa olmakla birlikte gelişimi uzun bir süreç içinde gerçekleşmiştir. Bugün Türk endüstrisinde tasarıma olan talebin hala düşük seviyelerde olmasının temel nedeni bir rekabet faktörü olarak tasarımın gücüne ve katkısına dair bilincin yüksek ve yaygın olmamasıdır. 1980’li yılların ikinci yarısında oluşmaya başlayan tasarım danışmanlık firmaları, 1990’lı yıllarda düşük talebin şekillendirdiği bir piyasada zorluklar içinde tutunmaya çalışmaktaydılar. 1990’ların ikinci yarısından itibaren iç pazarda rekabet etmeye çalışan ve dış pazarda ihracat şansı arayan firmalar endüstriyel tasarımın rekabetteki gücünü fark etmeye başladılar. Avrupa Birliği uyum yasaları çerçevesinde yürürlüğe giren Fikri Hak ve Mülkiyetlere ilişkin yasal düzenleme ile birlikte tasarımcılar da çalışmalarını koruma altına alabilmeye başladılar.
Bu tez kapsamında yapılan araştırmada görüşme metodu kullanılmış, denekler Endüstriyel Tasarımcılar Meslek Kuruluşu (ETMK) üyeleri veya Dexigner tasarım portalinde yayınlanan tasarımcılar arasından seçilmiştir. Tasarımcıların seçiminde bir diğer kriter firmalarını 1994 yılından bu yana düzenlenmiş olan başlıca ulusal ve uluslararası tasarım organizasyonlarında temsil etmiş olmalarıdır.
Tasarım danışmanlık firmalarının ortaya çıkış nedenleri ve şekilleri literatürde yer verilen gelişmiş ülkelerdeki sektörlerle paralellik arz etmektedir. Öte yandan bugün özellikle gündelik iş yürütme biçimlerindeki zorluk ve sıkıntılar daha az gelişmiş pazarlara özgü özellikler olarak göze çarpmaktadır.
Araştırmanın sonucunda Türkiye’deki tasarım danışmanlık firmalarının çeşitli sektörlere hizmet veren küçük stüdyolar olduğu ve bu iş faaliyetinden edinilen
bulgu iş hacimlerinin son yıllarda katlanarak arttığı ve bu gerçeğin iş dünyasında tasarıma olan talebin artış eğilimine girmesinin bir habercisi olabileceğidir.
Medyanın yadsınamaz etkisi sonucu bugün Türkiye’de tasarım alanına dair bir popülaritenin oluşmakta olduğu gözlemlenmektedir. Türk endüstrisindeki işletmelerin % 98’ini oluşturan KOBİ’ler tasarımın değerini ve bir rekabet aracı olarak gerçek gücünü anladıkları takdirde bu gelişmenin Türk endüstrisine katkısı, tasarım danışmanlık sektörüne ise etkisi büyük olacaktır.
INTRODUCTION
The aim of this study is to find out about the characteristics of consultancy companies providing industrial design services in Turkey, as well as inquiring about the common aspects in the professional backgrounds of the owner/founders of these companies.
During the emergence of Turkey’s industrialisation, several efforts had been made to cultivate industrial design in order to assign it a role in this process, in vain (Er, H.A, 1994). The field of industrial design has gone through several phases in its own conception in Turkey ending up in a late birth. Only after the 1990s, when the supply of industrial design services and human work force in this area were surpassing the demand, an upward shift seem to have started to occur. Today, with the increasing number of design departments in the universities, the number of graduating students annually, an association to support and protect the profession and its affiliates, and especially the growing demand from the industry- although not sufficiently as of yet according to academics and professionals, the field of industrial design has finally become pronounceable as a sector in Turkey.
As large manufacturing companies have been employing their own in-house designers for longer periods of time, the practice of commissioning designers has started to emerge in Turkey several decades later than in the West. As for SMEs in Turkey, a number of pioneering companies have been commissioning work, as well as larger manufacturers, to design consultancies since the early 1990s in their efforts to be competitive in domestic and/or exporting markets, which is the main motivation behind investments in industrial design today.
In the light of these developments, the suppliers of design services had been structuring and organising themselves to be successful and competitive in their endeavours, after a long period of applying merely survival strategies in this
slow-consultancy companies, their structures, organisations, clients, area of services and the stages they are in, in their commercial life- cycles. The study also aims to explore common features in the backgrounds and mind-set of the owners of design consultancies regarding their evaluations of the industrial design sector and their expectations about the future of their profession.
1. BACKGROUND OF THE RESEARCH
The increasing importance of industrial design in the world and the complex nature of project and procurement processes in this field had led to the emergence of the design management practice in order to increase the effect and efficiency of its processes and outcomes. Design management has a strategic significance in organisations investing heavily in design. The pioneering companies in design management in the West are known to appoint design managers who report directly to the CEO of the company, moreover, chief design professionals directing and managing design may even have a chair in the boardroom. The numbers of design managers appointed in manufacturing companies have been increasing, particularly in the West. As they are the coordinators and, in a way, counterparts of design consultants in “client” companies, the scope and the responsibilities in the practice of design management, in addition to its definition, meaning and importance have been researched in the design literature. The design consultancies and the nature of working relationships with them have been researched extensively in order to examine how companies advanced in design management benefit best from the services of design consultants. Also, the relationships from the standpoint of the consultancies have been examined to explore areas of client security and how long term relationships affect the quality of the working relationship and the increased revenues of the consultancies by receiving more projects from their existing clients. In order to examine the design consultancy sector in Turkey and to evaluate the characteristics of the design consultancies, it was necessary to review the history of industrial design in Turkey from the perspective of industrialisation, in addition to portraying the sector’s current state and the developing needs of the manufacturing industry. As there has been a significant increase in the number of universities with design departments in the past 7-8 years, the state of the education of industrial design in Turkey as the supplier of human factors of the field has also been researched.
Finally, the state of design consultancy in Turkey has been looked into, despite the scarcity of available sources on this topic.
1.1 The Growing Importance of Industrial Design
From the early 1980s on, the rise of industrial design has considerably accelerated following its recognition as a ‘competitive weapon’ by the manufacturing industry in the U.S. (Lorenz, 1986). The West, particularly the U.S. and European countries have long started to rely on industrial design practices for innovation and new product development in a variety of industries. Following a series of developments in the world economy and business scene such as the emergence of globalisation, the newly industrialised countries (NICs) around the world have also started investing in design in different capacities and ways (Er, H.A. 1994; Er, Ö., 1995).
According to some theorists and authors, design is the new trend in business management. Wynn (2000) depicts an array of ‘management themes’ throughout the past four decades:
• Quality considerations in the mid 80s: Total Quality Management (TQM); Taguchi methods
• Cost considerations in the late 80s: Just in Time Manufacturing (JIT); downsizing; restructuring; globalised manufacturing
• Delivery considerations in the early 90s: Time To Market (TTM) processes; extended enterprise/virtual organisations; concurrent engineering, strategic information management
• Customer first considerations in the mid 90s: Corporate re-engineering (Hammer, 1993); employee empowerment; Quality Function Deployment (QFD), mass customisation (Davidow and Malone, 1992; Zell, 1997 cited in Wynn, 2000)
• Design considerations in the late 90s : User focus; cultural and social context; value added; differentiation (Wynn, 2000)
However, Wynn (2000) assigns a superiority and timelessness to design among other management themes emerged in the past decades:
“Design by its very nature seeks to change and explore new possibilities, and so is capable of reinventing itself in order to continue to add value long after other revolutions in the
management of organisations have run their course or ceased to add incremental value.” (Wynn, 2000)
In the rapidly changing environment of industrial markets, Heskett (2001) in his article titled “Past, present, and future in design for industry”, talks of a spectrum, identifying a new reality of ‘super mass production’ on one end which he expresses as a new phase of mass production on a global scale. And on the other end, customisation to meet the specific needs of the consumers, with a variety of offers in the middle of this spectrum. (Heskett, 2001). Similarly, Mike Tennity (2003) refers to some worldwide trends addressing practioners of design to become more competent and aware: One is ‘the shift to mass customisation which is becoming the new realm for business competition’. A second trend is the ‘move from a commodity to an experience’ which will “challenge the design community to further their skills, process and services to its clients.” (Tennity, 2003).
The role of design in today’s economy and competitive business environment is expressed by Wynn (2000) as follows:
“In any business environment in which uncertainty is high, adopting a design-led ideology may be the only way to interpret the future and position the business to take it there.” (Wynn, 2000) No doubt, there is a growing consciousness of the strategic role and value design brings to any organisation, be it a product or a service industry. However, is the practice and management of design sufficient in terms of companies’ investments in their new product development efforts, let alone their innovation attempts and capacities, through the allocation of design resources?
“Few senior managers would argue that the new product development is unimportant; fewer still would imply that it is unrelated to “mainstream” business issues. However, the actions of many suggest that the new product development is neither at the heart of their business nor central to their personal agenda.” (von Stamm, 1998 cited Wheelwright and Clark, 1995)
1.2 Design Management
Design management has been gaining significance as a strategic tool for companies to improve on their competitive positioning in the increasingly globalising markets. (Er and Er, 1996)
As a result of the recognition and wide use of the industrial design field, the practice of design management, originated in Great Britain in the 1960s (Mozota, 2003), has
also increased, predominantly in order to manage the design activity in a company effectively. Moreover, as design management is becoming an increasingly important function, it is being practiced in many companies in the West at different levels, strategic in addition to operational (Blaich and Blaich, 1993), leading the way for design management to even start obtaining a chair in the board.
Peter Gorb (1990) discusses the scope of design management in a controversial way:
“Design management is not the process of managing a design consultancy or practice, either within or outside a corporation. It is not the education of designers about the importance of the management world or the reverse: educating managers about design.”
However, Gorb (1990) discusses the role of design management not exclusive of the responsibilities above: He states that these are still aspects of the activity of design management but in a wide sense. Gorb (1990) arrives at a definition of design management assigning it a strategic role, as follows:
“ Design management is the effective deployment by line managers of the design resources available to an organisation in the pursuance of its corporate objectives.” (Gorb, 1990)
Blaich and Blaich (1993) define design management in the following way:
“Design management is the implementation of design as a formal program of activity within a corporation by communicating the relevance of design to long-term corporate goals and coordinating design resources at all levels of corporate activity to achieve the objectives of the corporation.”
These two definitions unveil the strategic importance of design management in the way it contributes to a company’s realisation of its long-term goals.
Chung’s (1992) comments on the strategic role of design management are parallel to these definitions:
“The corporate design strategy which parallels the firm’s long term business, technology, and marketing plans is an example of the strategic value of design management. The design strategy provides a comprehensive visual framework in which the firm’s design activities can be integrated with the total efforts of the company.” (Chung, 1992)
1.2.1 The Role and the Responsibilities of the Design Management Function
According to Blaich and Blaich (1993), at the two levels previously stated, strategic and operational, the tasks of the design management function are as follows:
2. Managing design resources 3. Managing the design process
4. Cultivating an information and idea network.
In addition to both a strategic role and an efficient day-to-day management of design activities in a company, Blaich and Blaich (1993) have also included the central role of the design manager as a mediator, particuarly in the fourth task where efficient networking skills are required.
Jevnaker and Bruce (1998) state the responsibilities and skills required of the design manager as follows:
• the selection and commissioning of design expertise • preparation of design briefs
• evaluation of design work • project management skills
Expanding the above framework of the design function, Olson, Slater, and Cooper (2000) in their article about how to systematically manage design in a company and integrate it with its competitive strategy, summarise the design management process in five steps:
Step 1: Clearly articulate the firm’s competitive strategy to designers and design managers.
Step 2: Develop a detailed understanding of the design requirements inherent in the adopted competitive strategy.
Step 3: Ensure open lines of communication among the design group or other functional units.
Step 4: Create, review, and approve design briefs.
Step 5: Compare performance outcomes against the objectives established in design briefs.
In an attempt to explore the managerial function required for design, Mozota (2003) relates the design concepts to management concepts as in the table below:
Table: 1.1 A Comparative Approach to Design and management concepts (Mozota, 2003)
Design Concepts Management Concepts
Design is a systemic activity. Business systems. Information. Design is an activity of coordination. Communication. Structure.
Design is an activity of cultural and Consumer preferences. Organisational artistic activity culture. Identity.
Pamela DeCesare (2003), Director of Packaging and Brand Design at Kraft Foods, who works in a fast moving consumer goods environment, refers to design management as “the epicenter of two dynamic and inspiring worlds: Brand management and brand design” and exemplifies the dichotomies as ‘rational and emotional, left-brained and right-brained, analytical and creative’ defining the role of design management as “to seek and find the best in both worlds and maximize it”. (DeCesare, 2003).
1.2.2 Organising Design in a Company
In the organisation of design, there are three main models of obtaining design work: In-house, outsourced (external) and a mixed approach to design (von Stamm, 1998; Bruce and Morris, 1995). Design management necessitates initially assessing and determining these different models of design service acquisition according to the needs of the company, taking into consideration the relavance and suitability of each model.
According to von Stamm (1998), the decision as to how design is to be handled at a company is dependent on a number of factors: The company’s size, its market segments; the relevance and importance of design in the company’s competitive positioning; whether the company is an innovator or a follower; the attitude of its managing director; the frequency of the need of new product development; the quality or quantity of change required in an existing product; whether the product is a commodity or a customised one; and the various qualities and characteristics of the product in question. Jevnaker and Bruce (1998) refer to these factors generally as those related to a company’s tradition, corporate strategy and the state of the supply and demand factors in its relevant markets.
1.2.2.1 In - House Design
In-house design is the employment of a design team within an organisation in order to meet the company’s needs in the field of design. Regarding the organisation of
design, von Stamm (1998) states that if the design is to be held in-house then the decision to locate the design operation would be considered among several options: Located within marketing (mostly the situation with fast moving consumer goods companies); within the technical domain with R&D or production (mostly engineering based companies); or in an independent design department to be set up. Similarly, according to Walsh, Potter and Bruce (1992) there is a strong correlation between the way design is regarded and the department responsible for it in organisations. There is also another option of not having an explicit design expertise when some companies still undertake design work through unqualified people in design related fields. These are people referred to as “silent designers” (Gorb and Dumas, 1987) who have a critical impact on the design or product development without considering themselves to be making design decisions.
Although in-house design is referred to as the primary model applied especially in the early years of industrial design, Jevnaker and Bruce (1998) underline that “in-house design is found in exemplary ways in major design-conscious corporations such as Sony and Braun.”
According to von Stamm (1998), the major advantages of employing in-house design are cost efficiency, accessibility, easier coordination, more control by the company, the designers’ deeper understanding of the company and its needs and objectives. However, the main down-sides of in-house design is the erosion of creativity over time, lack of efficiency in the sense that the designers may not always have work to do, and finally, the lack of the designers being current and up-to date on external developments. (von Stamm, 1998)
1.2.2.2 External Design
External design is a decision that takes place usually when the technical know-how and design skills of external sources such as a design consultancy firm or an independent designer is rated superior to the company’s in-house capabilities. Bettina von Stamm (1998) in her article “Whose design is it? The use of external designer” examines the situation of external design through the case study of a motorbike design at a manufacturer company. In the case study, von Stamm (1998) emphasises the importance of managing a relationship with the external sources and being aware of the manufacturing capabilities of the company itself. Through this
coordination of the external design source and the in-house designer team; the inability of the company’s industrialisation of the new design; and the overall inability of the company to benefit from the collaboration.
Bettina von Stamm (1998) concludes that given the need to employ external design sources either due to the need for an expertise that does not exist in the company, being creativity in general, or a technique, a know-how, the only condition that experts would benefit the design would be when they become integrated to the company’s design team during that period, and “apply their expertise with an awareness of the organisation’s context, its capabilities and constraints” (von Stamm, 1998).
According to von Stamm (1998), the advantages of external design are: Fresh inspiration, access to expertise, easing company work-load, access to additional skill sets or staff qualifications, the possibility of changing alternatives or exploring different alternatives.
However, von Stamm (1998) states a longer list of disadvantages when it comes to external design: The lack of deep understanding of company issues; problems of accessibility; problems of co-ordination and mediating the two sources; potential lack of confidentiality; the ‘not-invented-here syndrome’; need of solid company sources to evaluate design work; problems with industrialisation of the external design work; loss of control; and credibility gap if design is too far removed from company’s own style.
Brigitte Borja de Mozota (2003) refers to outsourcing of design as “strategic externalisation”, the motivation of which she describes as “ the objective to increase the performance of the design function and to avoid the difficulties of accumulation of resources and competencies”. However, she concludes that the relationships with external sources are not necessarily based on opportunism; such long term relationships can also build trust. Mozota (2003) lists the advantages of collaborating with external sources in line with those of von Stamm’s mentioned above.
An addition to this list of merits is that outsourcing design “favours the mutual exchange of information and increases the ‘predicability’ of mutual behavior”.
Mozota (2003) points out the need for design managers to utilise analytical instruments in order “to control the design provider’s performance, quality and implementation”.
An extreme example to outsourcing product design and innovation is the case of Herman Miller Inc., a U.S. based manufacturer. Kenneth Munsch, a director in the Creative Office at Herman Miller, in his article on outsourcing design and innovation at Herman Miller refers to his company as one owning a core competency actually because design is outsourced (Munsch, 2004). According to Munsch, “The diversity of ideas and views being considerably beyond an internal corporate perspective” was the main motivation for choosing such a model at Herman Miller. Munsch underlines the importance of a match between the company and the external designer being based on a variety of factors but also on the personality of the designer which is a frequently mentioned factor referred to by many authors on the subject of working relationships. However, Munsch recommends companies to consider some key issues before moving in this direction of relying on external design as a business model. The points to consider are: Establishing a solid agreement on property rights; assesing the potential value of the prospective collaborator; the ability to find good creative sources by networking; deciding if the company is able to carry out such a collaboration; and fully acknowledging that design is much more than aesthetics alone. (Munsch, 2004).
1.2.2.3 The Mixed Approach
The Mixed Approach is another form of structuring a company’s design capability where the company makes use of both internal and external design sources and capabilities. The Mixed Approach in design management dates back to the late 1920s with Henry Dreyfuss (Jevnaker and Bruce, 1998 cited in Lorenz, 1986; Freeze, 1998) and have become an increasingly used model in managing design in today’s companies. The Mixed Approach is applied particularly when there is a heavy workload difficult to manage in house; when new ideas and perspectives are needed and specialist designers are required to collaborate with (Er, Er and Başer, 2003). The Mixed Approach is used widely by large or medium sized companies in Turkey in especially furniture, lighting, glass/ceramics sectors where design is influenced by fashion and changing lifestyles. Working with celebrities is also a dominant strategy to increase the brand image of companies by leveraging the PR value of such collaborations. Examples to such collaborations in Turkey is: Vitra, RocaKale, Koleksiyon, Nurus companies.
Design Alliances is another concept akin to the Mixed Approach. Jevnaker and Bruce (1998) define Design Alliances as “a collaborative and interactive business
the Mixed Approach in the way that the counterparts sustain their independence in the collaboration. The nature of the collaboration in Design Alliances is not simply in the form of a design company servicing a manufacturer. The way large manufacturing companies in Turkey such as Arçelik and Vestel have been collaborating with the world’s leading design consultancies during the past decade could be identified as Design Alliances.
According to Jevnaker and Bruce (1998), there are many benefits that design alliances may bring to companies. These are, as cited from their article on design alliances: Closer access to design expertise; managing uncertainty in design development; establishing ongoing design and business interactions in the era of new knowledge based competition; visualisation and product decisions; achieving the ‘first mover’ advantage; accessing a flexible but familiar design source; strengthening name and reputation; achieving a comprehensive visual image; managing risk and sharing costs. These various benefits were illustrated in the article through cases on Ingersoll Rand, Ericsson and Hag companies. However, potential problems were also mentioned, mainly taking their roots from relationship issues, such as hostility from the internal staff towards the external design consultancies. Recommendations were given as to keeping a climate of openness and ‘the frank exchange of ideas’ in addition to learning from experience.
1.3 The Design Consultancy Business
As the rate of outsourcing of design in advanced market economies are increasing versus the employment of in-house design teams (Gemser, G. and van Zee, E., 2001; Er, Ö. 1995), the commissioning of design consultancies and managing these sources are becoming an increasingly significant practice in design management. Also, on the design consultancy front, the increase of demand from the industry has led to the shaping of a new service sector: The business of design consultancy. The motivation for resorting to external sources for the development of design i.e. commissioning work to design consultancies, as explained above, are making companies leaner and more dynamic in a sense, where fresh ideas are driven in and transformation of know-how from the consultant’s previously serviced client sectors are made possible.
In addition to companies operating in advanced markets, there is the phenomena of NICs’ (newly industrialised countries) outsourcing practices that are extensively explored by Özlem Er in her article titled “Development of design consultancy business and its significance for clients from newly industrialised countries” (Er, Ö., 1995).
Özlem Er (1995) sheds light to a particular strategy of NICs in the transfer of a design practice by employing and successfully exploiting the services of design consultancies based in a highly developed market in this field, namely the U.K. Er (1995) refers to these consultancies as both ‘agents of organisational learning’ and as ‘marketing agents’ in their extension of consultancy services to NICs (Er, Ö., 1995).
According to Er (1995), the main points of expertise the British design companies have to offer the NICs vary from ‘provision of R&D expertise’ to ‘the process of consulting including training’ and from ‘transfer of design and engineering technology’ to conveying ‘standards used in the developed countries’ in order to ‘help in overcoming market entry barriers’ (Er, Ö., 1995).
As the business of design consultancy is proliferating in especially the more advanced economies, the competition is also becoming fiercer with supply surplussing demand in some cases.
Gerda Gemser and Eric van Zee in their article titled ‘Benchmarking industrial design services’ (2001) have examined design consultancies giving industrial design service in the U.S and four leading European countries.
The benchmark study carried out by Gemser and van Zee was conducted according to the McKinsey’s 7S model (strategy, structure, systems, shared values, skills, staff and style) as illustrated in Table1.2 (Gemser and van Zee, 2001)
Gemser and van Zee (2001) state that today’s design consultancies face many market challenges in an era of globalisation where related markets are being continually converged. In order to maintain a competitive position and achieve superiority in a challenging market, Gemser and van Zee recommend design consultancies to continually benchmark their companies against their competitors. Table 1.2 : McKinsey’s 7S Model (Gemser and van Zee, 2001).
REPUTATION Strategy
. Limited scope service profile . Full scope service profile . Product-oriented .Client-oriented
. Domestic focus, both with regard to
clients and human resource management . Active globalisation strategy including multicultural human resource management
Skills
. Craftsmanship: Skills to optimize the design process
. Entrepreneurship:skills to 'extend' the design process
. Skill development based on clients' needs and wishes
. Skill development based on the design process
. Skills rooted in texbook wisdom . Skills rooted in practice
Structure
. Vertically organised . Flat, horizortally organised . Use of mono-disciplinary project teams,
directed by managing directors . Use of multi-disciplinary, self-organising project teams . Project teams operate seperately from
clients . Project teams integrated in clients' organisation . Underdeveloped network linkages,
mainly with 'local suppliers' . Sophisticated network linkages, mainly with external top specialist
Staff
. Uniform management team . Diversified management team . HR management focused on specific
cultural and educational backgrounds
. HR management focused on creating diversity in culture and education
. Passive HR management, difficult to . Active HR management, ensuring first pick attract talented people of talented people
Systems
. Up-to date technical support systems . Up-to date technical support sytems tuned to clients' systems . Basic communication systems . More advanced communication systems . Quality systems in start-up phase . Sophisticated quality systems
Shared values
. 'Fail safe' . 'Safe fail'
. 'An honest dollar for an honest day's work' mentality
. 'My work is my hobby mentality' . Briefing of client is given
.'Bend' the briefing of client when necessary
Style
. 'Introvert' .'Extrovert'
. Prospect hunting is selective and not . Selective and professional prospect hunting well prepared . To help the (novice) design client to exploit . To ignore the (novice) design client design resources effectively
Gemser and van Zee (2001) have found that the critical factors in being successful were dependent on a number of capabilities and virtues from the positioning of a
company in its expertise to building strong and long term relationships. The critical success factors in the design consultancy business are listed below:
• Being a full design service provider or niche specialist;
• Maintaining excellent, long-term client relationships and achieving customer satisfaction
• Entrepreneurship being future oriented, ready to grab and act on opportunities: stimulating new business opportunities for clients
• Interdisciplinary and multicultural orientation: the use of multi-disciplinary teams
• Strong focus on building and sustaining an excellent image
• Engaging in a cycle of continuous learning (Gemser and van Zee, 2001) 1.3.1 The Role of Design Consultancy as a Strategic Partner
Les Wynn (2000) comments on the qualification of design as strategic:
“All too often, design is described as strategic, when in fact, what is actually meant is that it is
important. Many companies recognise design as important in that it helps to ensure a product
that is attractive to consumers. However, although it is important, this kind of design is unlikely to be strategic. It does not require that it identifies new opportunities; rather, it counts on producing low risk products that do not offend or dissatisfy the customer. In essence, it is a pure service activity- a consultative activity. For design to be strategic, it needs to take on many of the activities traditionally left to the parts of an organisation responsible for identifying opportunities- to become as much the client as it is the service provider.” (Wynn, 2000) According to two strategists at Frog Design, Adam Richardson and Jojo Roy (2004) design strategy is “about a holistic, multi-faceted approach to clients’ challenges that covers business, but also users, markets, technology, and cultural trends”.
Richardson and Roy (2004) in their article that provides “a perspective on initating and managing strategic partnerships”, state that expanding the role of the design consultant into one that covers a long-term strategic role benefits both the client and the consultant. Richardson and Roy defines this strategic contribution in a simple and straightforward expression:
“It means that clients turn to us for advice on which products to make, which customers to serve, which markets to go after, who to partner with, which services to offer, which technologies to develop, and how to competitively position their offerings” (Richardson and Roy, 2004).
Richardson and Roy (2004) state several benefits to establishing strong partnerships that give the consultancy a strategic role such as: Receiving a steady flow of work from the client; doing work across multiple departments having accessed higher levels of management at the client side; having projects run in a smoother fashion and not having to face pre-defined projects to work on. However, as Richardson and Roy (2004) point out, being a strategic partner requires a different quality of staff, different compensation methods and billing procedures.
According to Richardson and Roy (2004), a design consultancy must take a number of steps in order to develop its relationship into a strategic quality:
1. Taking into consideration the client experience extensively and organising the consultancy to match this prerequisite as well as taking on the role of designer. 2. Seeking projects out of the ‘comfort zone’ of previously handled sectors, areas and tools.
3. Adopting other kinds of compensation methods in line with the strategic partnership offer.
4. Think big - and small, in the sense to provide a long term vision as well as “the tactical specifics and the roadmap to match it”. (Richardson and Roy, 2004), Jessica Feldman and John Boult (2005) in their article titled “ Third-generation design consultancies: Designing Culture for Innovation” suggest that design consultancies are taking on a new role in the transformation of companies in the rapidly changing business environments and competitive pressures imposed on them: Design consultancies as catalysts or perfect partners in the transition of the organisation culture towads being an innovation-oriented one.
1.3.2 Client- Consultant Relationships
Among the many difficulties organisations may encounter in a rapidly changing environment, one of the most important challenges they face is the management of human relationships: Relationships within the organisation, relationships with suppliers, with customers, with shareholders and the like. Companies do suffer or benefit from the way they manage these relationships. Thus, a company receiving design service from a consultancy must be aware of the impact the quality of the relationship has on the process and most importantly, on the output.
The style of relationships between the two parties may vary according to the personality, furhermore the nationality of the counterparts, among several other factors.
Bruce and Docherty (1993) in their article on design consultancy relationships discuss the significance and nature of these relationships in the design field. Through the analysis of client-consultant relationships in British and Scandinavian companies, also underlining the national differences in their approaches, Bruce and Docherty have identified three approaches to design management: “The Family Approach” where a design firm is encouraged to become ‘part of the family’ leading to a longer term relationship; “the arms-length approach” where the designer is regarded as a consultancy that is external to the normal functioning of the company; and “the one-off purchase” where design service is bought for one time indicating not much intention to be repeated. Bruce and Docherty (1993) conclude that building long term relationships are beneficial to both parties, namely, educating the external designer where they are enabled to take a proactive role in problem solution; impacting the quality and creativity of the work; maintaining consistency in the design approach over time; and enabling the designers to reflect cultural and social changes within the their design solutions (Bruce and Docherty, 1993)
However, according to Bruce and Docherty (1993), there are certain prerequisites for fostering long-term relationships. These are: Receiving satisfactory solutions from the design consultancy; having a personal chemistry between the parties; establishing mutual trust and respect among the parties; and understanding each other’s language (Bruce and Docherty, 1993).
1.3.2.1 The benefits of fostering strong and long-term relationships
Watt, Russel and Haslum ( 2000) state that “ it is only through mutually beneficial and cooperative relationships that designers and clients will achieve creative and commercial success.”
According to Thomas Walton (2000), “consultant-client relationship must be both creative and efficient” in order to accomplish powerful results and achieving these by using resources in the best possible way.
President of Source/Inc., Willam O’Connor (2000) in an article on the chemistry of client consultant relationships affecting the design outcome expresses the impact of strong relations originating from the shared values of trust, respect, openness, reliability and performance. O’Connor adds another dimension to good relations:
approaches to common circumstances, that is both palpable in the process and demostrable in the results.” (William O’Connor, 2000)
According to Cameron Watt, Ken Russel and Mary Haslum (2000) “stronger relationships make stronger design solutions.” as verified in their article with the same title, where the key benefits of stronger relationships were identified as: “ Creativity, improved competitive differentiation, increased efficiency and higher levels of motivation and buy-in.”
1.3.2.2 Problem areas and issues in client-consultancy relationships
Watt, Russel and Haslum (2000) state the traditional priorities, perceptions and issues of both design company and client perspectives:
In terms of the design company, the main issues are identified to be: • See outside parties as barriers to creativity
• Perceive clients as potential problem makers
• Will not want to involve client or others in initial idea/ concept generation • Communication between client often occurs through single conduit • Do not value input from other stakeholders
• May not truly understand client’s needs
• Client not seen as a contributing team member (Watt, Russel and Haslum, 2000)
In terms of the client, the main issues are identified to be:
• Risk adverse due to lack of experience or internal political pressure • Perceive designers as unpredictable
• Perceive designers as not strategically focussed
• Unclear of design process and strategic value of design • Cost priority
• Do not see themselves as a contributing team member
According to Watt, Russel and Haslum (2000), these priorities, perceptions and issues are stated to lead to the emergence of following as potential problems:
• Communication between parties is limited • Information becomes disjointed
• Co-operation breaks down
• Designer/ client mistrust grows • Design integrity is lost
• Operational efficiency is reduced • Costs increase
• Creative flexibility is reduced • Potential differentiation is lost
1.3.2.3 Strategies and recommendations to offset problems in client- consultancy relationships
The strategies for an improvement in the client-consultant relationships determined by Watt, Russel and Haslum (2000) are the following:
1. Breakdown of traditional structures and cultures in both design and client organisations.
2. Changing the management styles in the value of creating open, informal and trusting relationships.
3. Living and communicating with the client.
4. Encouraging positive conflict through group diversity. 5. Socialising with each other
6. Getting everyone involved sooner rather than later in the design process 7. Finding the real decision makers
8. Communicating the benefits of close relationship to the client.
Pamela DeCesare (2003), Director of Packaging and Brand Design at Kraft Foods who had previously worked ‘on both sides of the table’, believes that clients and consultants can improve and promote their relationships a great deal by being sensitive to some issues and adopting certain attitudes.
According to DeCesare, “purposeful listening” in a sincere desire to understanding the client is key. Similarly, Keith Reinhard, the former CEO and Chief Creative Director of DDB Advertising Worldwide had the following phrase printed on the back of the company cards: “Listen. He may be right” in his attempt to make the simple act of listening a priority when interacting with clients.
DeCesare (2003) states that “understanding the brand’s vision and developing a visual strategy based on that vision” is the outset of what she calls “getting to the core of the core” in the context of a successful relationship. DeCesare’s prerequisites to establishing strong partnerships in a working relationship are mainly
based on a clear, mutual understanding of the priorities and goals, together with the opportunities, obstacles and agenda regarding the brand management practice. DeCesare underlines empathetic understanding when analysing what each side expects from each other. She draws the attention to a parallelism in the main expectation: Clients’ expectation are to be respected in the critical role they play in brand development and so are the consultancies’. (DeCesare, 2003)
William Hull Faust (2000) pinpoints the evolution of design consultants from a “project- focused to a client-focused business model”. Faust has a concrete recommendation to design consultants in their effort to build long-term client relationships: The assignment of relationship managers similarly to the account managers in advertising agencies. Faust also has recommendations to clients whom he urges to understand that they are “investing in a relationship of strategic importance”: To continually keep the consultant informed, updated and involved with their business even when there are no active projects in question. Another point he emphasises is the need to review the state of the relationship periodically in order to pinpoint the problems ahead of time (Faust, 2000).
Mike Tennity (2003) in his article titled “What clients want?” apart from stating the core benefits of “having access to proven skill, best practice and technology and the client’s focus on growing their business through innovation”, articulates a demanding perspective: The client expectation that the consultancies become familiar with the unique, advanced methods companies develop in order to have a competitive edge. The familiarity of how involved the client is for example with management techniques such as Total Quality Management (TQM) or design for Six Sigma (DFSS) (Tennity, 2003).
On the other hand, Cameron Foote (2003) unveils a rather simple and maybe surprising fact that “the key to business versus design- success for a consultancy is not in doing great work but in having happy clients.” Foote (2003) invites the consultant to wear the clients’ shoes in order to understand the client’s expectations fully and to alter his own mind-set. Major areas of conflict stem from the risk perspective, the budget perspective, the design perspective and service perspective of the client. Foote (2003) recommends the consultancy an action plan in order to keep clients happy which is the foremost importance in a service relationship. The action plan comprises of taking the steps of reviewing the consultancy’s positioning as to its offer; broadening its interests into the client reality and needs; taking the initiative and keeping control during the relationship; treating the clients’ money as its
own; keeping the client updated at all times; giving credit to them generously; remembering little things and being sensitive to certain issues in the relationship; fortifying the relationship through new offers in other areas; and cultivating the best client relationship (Foote, 2003).
Annaleana Hakatie and Toni Ryynanen (2007) have conducted a ‘gap analysis’ in order to examine the situations and challenges faced during client-consultancy relationships. According to Hakatie and Ryynanen (2007), one dimension is ‘the management gap’ stemming from the fact that the management of consultancies seldom have direct contact with the client upper management. This results in an information void which is a risk when the client management could be better informed of the value that design is creating or impacting on their business. Another dimension is ‘the quality specifications gap’ that is created between the client and the consultancy if the consultancy is not aware of the R&D processes, for instance, on the client side. A third dimension is ‘the service provision gap’ which is comprised of various factors and has an affect on the quality of the services (Hakatie and Ryynanen, 2007). Yet another dimension is ‘the marketing communication gap’ that could be found in different corporate cultures and communication patterns used. Hakatie and Ryynanen (2007) recommend that design consultants and their clients should assess the quality and nature of the collaboration together with the use of such a gap analysis in order to identify and reduce the gaps that have been formed between the two parties in time (Hakatie and Ryynanen, 2007).
1.4 Industrial Design in Turkey
Since the beginning of the millennium, the concept of design had been on the rise in Turkey in the public eye, especially through the promotional efforts and eventually the popularisation of it by the media. (Er, H.A, 2007). There has not been a time in Turkey where design had been in the country’s agenda, as frequently mentioned and referred to by the public in particular. As a result, coupled with the boom of consumerism in Turkey about a decade after the liberalisation of the economy, designer products have started to become objects of desire, ownership of which seem to give the well-off a sense of stylishness and heightened identity. Leveraged by its extensive usage and wide meaning even in the design literature itself, the word design had started to be used as an enhancer of professional esteem by many occupancies (Er, H.A, 2007) from hair dressing to headhunting i.e. ‘career design’.
Fortunately, the rise of design is not limited to its popularisation and the superficiality of its trendiness in the society alone. As Turkey’s efforts in industrialisation had flourished and her ambitions to be competitive in the domestic market and especially in its exporting operations are getting fiercer, the consciousness regarding the power of design has also started to proliferate in the manufacturing industry and in business circles.
1.4.1 The History of Industrial Design in Turkey
Although the efforts of establishing industrial design education in Turkey date back to the end of the 1950s (Er, H.A,1994), the history of industrial design in Turkey had been a shorter one. During this time, several unsuccessful attempts to implant and breed industrial design in Turkey have been made through efforts of aid programmes used by U.S. foreign policy in establishing an industrial design department in a university. These have remained unaccomplished until the early 1970s. (Er, H.A,1994; Er, Korkut and Er, 2003)
In 1973, independent of U.S. intervention, the interior design department of Istanbul State Academy of Fine Arts (IDGSA) had been reorganised under the title of the department of interior and industrial design (Er, H.A, 1994) followed by the seperation of the department into two different branches later on.
Meanwhile in the industry front in the 1970s, the majority of the manufacturers in Turkey had no notion industrial design, although a visiting British designer, John Reid, who had been assigned with a UNIDO mission of researching the state of industrial design in developing countries, had reported some examples of design activity in Turkey in 1978 (Er, H.A, 1994) in particularly two different patterns and manners. The first pattern was mostly based on the illegal act of copying and adapting from foreign sources mainly in the furniture sector. The second pattern was more of a genuine effort displayed at Türk- Traktör through the work of graduate mechanical engineers in product design and development, and in the R&D unit of Koç Holding where a mixture of in-house design activity was undertaken together with the commissioning of work to foreign design consultancies. The latter was found impressive and exemplary by Reid at the time (Er, H.A, 1994). Reid’s visit to Arçelik had revealed a different picture of a team of mostly mechanical engineers designing their own appliances by the method of researching and ‘reverse engineering’ from foreign models of appliances, the outcome of which often ending up with the simplification and modification of the design according to domestic needs and
restraints. Similarly Arçelik’s main competitor Profilo’s design department at the time had consisted of mechanical engineers and industrial designers where more styling was undertaken in order to distinguish the four trade names they were manufacturing for (Er, H.A, 1994).
The landmarks of Turkish industrial design in chronological order (Korkut, Er and Er, 1998) until the the end of the 1980s, continued with the establishment of Turkish Design Association (ETD) in 1978 which had been a short lived endeavour due to the insufficient number of industrial designers supporting the association (Er, H.A, 1994); the establishment of industrial design department at IDGSA and at Middle East Technical University (METU) in 1979; the realisation of the meeting organised jointly with UNIDO and ICSID at Ahmedabad Institute of National Design in India under the topic of “The Development of Industrial Design in Developing Countries” in 1979; the organisation of the First National Design Congress at Istanbul Technical University (ITU), Faculty of Architecture; the closing down of ETD in 1984; the founding of the Department of Industrial Design at Izmir Dokuz Eylül University towards graduate education; the opening of Industrial Designers Society of Turkey (ETMK) in 1988; the founding of the Industrial Design Depatment at Marmara University, Faculty of Fine Arts; and the opening of graduate programme of industrial design at ITU in 1989 (Korkut, Er and Er, 1998).
During the decade of the 1980s, major political and economical developments had constituted as the seeds of more material effects on the industrial design sector, such as the start of the economical stabilisation programme in January 1980 before the military coup in 1980, a liberal policy adopted by the new government formed in 1983, the deregulation of the Turkish currency in 1989, and the introduction of extensive incentives towards exportation of goods (Korkut, Er and Er, 1998).
In the 1980s, it was noted that a design press started to emerge although mostly under the scope of the interior design discipline. (Er, H. A, 1994; Korkut, Er and Er, 1998).
Since the mid 1980s, the design consultancy sector had started to be established by industrial design graduates setting up small offices to service mainly in the area of interior design and furniture, none of which have evolved into being multi-disciplinary consultancies including industrial design activity among their service offer (Er, H. A, 1994). However, towards the end of the decade, the need for new product design had started to appear in the industry due to the economic developments in the
The early 1990s had been the start of a faster acceleration in the development of industrial design in Turkey. The driving forces of this development had been the liberal policies in the Turkish economy, Turkey’s acceptance to the Customs Union in particular, leading to an increase in the competition of foreign goods in the domestic market, thus resulting in the rise in the consciousness of the importance of industrial design in manufacturing. (Korkut, Er and Er, 1998).
As a result of an increasing number of graduates from the industrial design departments of the universities having grown considerably in the 1990s, the work force in the indusrial design sector had also increased providing with a surplus of supply in design services.
1.4.2 The Education of Industrial Design in Turkey
In the past ten years, the most visible development in the education front has been the fast growth in the numbers of industrial design departments in universities and graduating students every year (Er, H.A, 2007). The number of students enrolled to the total of three universities’ (IDGSA/MSU, METU and M.U) industrial design departments were 70-80 in the late 1970s and early 1980s. As ITU had joined these three universities in 1993, a total of four universities were giving industrial design education towards different undergraduate degrees (i.e. BSc as opposed to BA and BID) within different educational tradition. (Er, H.A, 2007). These universities’ student acceptance policies were also different in the mid 1990s.
Today, the number of the universities giving industrial design education have been increased to 13 with the addition of a majority of private universities and the numbers of annual student enrollments to 491 with some new universities’ acceptances as high as 60 students annually (Er, H.A, 2007). The supply of education in the industrial design field is illustrated in Table 1.3.
Table 1.3 : The Industrial Design Departments of Turkish Universities (Er, H.A., 2007)
Name of University
Year of
Foundation Faculty Acceptance Policy
Number of Students
Mimar Sinan Univ. 1971 Architecture Skill Test 30 METU 1979 Architecture OSYM 30
